“The hardcore aesthetic is inspiring, informing and liberating a diverse generation of artists, yet the scene itself is still massively male-dominated… Historically there have been very few women in hardcore; so few you could count them on your fingers. According to Bianca Ludewig, hardcore scholar and member of the female:pressure network, this has translated into a lack of female role models which are needed to bring more women artists into the scene… “scholars, like Tara Rodgers, have shown how women are getting systematically written out of music history, and as a woman you need some inspiration through role models to show that it’s normal as a woman to be a DJ or musician.””
“Tara Rodgers es una de las teóricas fundamentales con respecto a la relación entre feminismo, tecnología y sonido. … La propuesta de Rodgers se dirige a pensar la posibilidad de establecer encuentros entre lo humano y la tecnología desde el desplazamiento de la supuesta familiaridad hacia la otredad que genera la electrónica. Esos cuerpos situados que propone lo que vibra, más allá de la imposición de lo visual, implicaría también otra forma de relación entre cuerpos que posicionaría cualitativamente el cuerpo femenino en otro lugar con respecto a la tecnología. Frente a la lectura futurista que une la novedad de los ruidos con la violencia de su aparición, Rodgers rastrea formas de fascinación a través del sonido. La labor sería “escudriñar cómo la electrónica puede (o falla en) expresar posibilidades para encuentros más imaginativos y éticos entre la tecnología y la diferencia” (mi énfasis).”
“A composer and thinker who explores sound and sonic meanings from multiple angles, Analog Tara builds her tracks on analog sources and recorded loops, layering improvised sounds and melodic lines into an intricate and inquisitive design…
The author of numerous essays on music, technology and culture as well as the groundbreaking 2010 book Pink Noises: Women on Electronic Music and Sound… she’ll present a keynote talk at MUTEK’s Symposium this year.”
Keynote: Monument-National, August 22, 2018, 14:00-14:45
Performance: Expérience 4, Place des Arts, August 25, 2018, 16:55 – 17:40
“Each [interview] is extremely personal but also technical and conceptual, exploring the artist’s unique relationship to sound and space…”
Pink Noises is on Artforum‘s Top Ten list for May 2018 by Lyra Pramuk, the American singer, composer-producer, and performance artist based in Berlin.
The Tara Rodgers Pink Noises archive is now available at Fales Library & Special Collections at NYU in the Riot Grrrl Collection, which documents the evolution of the Riot Grrrl movement. The Riot Grrrl Collection focuses on personal archives of those involved in the creation of Riot Grrrl zines, music, and activism. It also includes collections from Kathleen Hanna, Joanna Fateman, Mimi Thi Nguyen, Tammy Rae Carland, Becca Albee, and more. In the introduction to the Pink Noises book, Rodgers cites the legacy of the Riot Grrrl movement as one of several motivating factors for starting the Pinknoises.com website in 2000.
From Fales Library’s description: “The Tara Rodgers Pink Noises Riot Grrrl Collection, dated 1976-2015, consists of materials created, produced, and collected by Tara Rodgers documenting her involvement in academia, critical theory, and the music industry. The collection includes correspondence, audio recordings under the name Analog Tara, audio recordings by female electronic and experimental musicians, and publications concerning feminist interests both inside and outside the music industry, including Bust, Bitch, Groove, and XLR8R and a collection of comic books featuring female superheroes (Wonder Woman, She-Hulk, Super Girl, Spider Woman). The collection also includes original writings by Rodgers, including magazine articles and academic publications, as well as other materials documenting her academic activities, such as syllabi, event programs, and program notes from educational institutions she has taught at or worked for.”
“There has been a lot of talk in the past year about the need for greater gender and racial diversity in programming from large performance organizations… For this series on building curriculum diversity, I interviewed various scholars, performers, and educators who have been creating wonderful resources that highlight these often ignored communities.
Tara Rodgers is a performer, composer, and scholar based in D.C. Her book Pink Noises: Women on Electronic Music and Sound is a collection of interviews with some of the greatest minds in electronic music today. She generously agreed to an in-depth interview over email…”
“The cost and inconvenience of getting online in Cuba is forcing its small but bustling dance music community to seek out creative ways to make beats. …
Iván Grajalo and Julio Cesar Jimenez make beats together under the name Electro Palestina. Grajalo, a professor by day, is fortunate enough to have an Internet connection at his university—not that his office hookup is much of an improvement. [They] recently devoured a bootlegged e-book copy of Pink Noises: Women on Electronic Music and Sound.”
What little nuggets of digital gold they are able to mine from the interwebs in turn get passed among their small but rabid circle of electronic music heads in eastern Cuba…”